This study aims to survey the creation process of female figure as a whole by linking features of female association depending on Shen cong wen's creation period with the characteristics of female figures of each time. Female figures at the first creation period are, in many cases, just passive subjects looked into the eyes of the male writer. This is largely because of a woman named Ma, Yao Mei, and Ding ling, who were those Shen associated when he first started writing literatures. They were women who hided their true colors of wicked women under the veil of positive image of girl and seem to have a huge impact on the creation of female figures by Shen at the initial stage of his literature creation process. At the second period, female figures in his literatures are varied and colorful. There are novels in which a woman is a main character and stories, in many cases, are delivered from a point of view of a woman. Ding ling and Zhang zhao he associating with Shen at that time had a great impact on this. Literatures by Shen in this period were a dedication for the love and friendship with friends and lovers. Female figures at the third period have contradictory characteristics; sometimes it is too ordinary and plain, and others it is too abstract and difficult. This is related to the fact that the association with women did not directly motivate his creation at that time due to the reality called marriage and a special circumstance: war. But, in this period, he was absorbed in creation to capture the lively motion and beauty of life that he had constantly envisioned. In conclusion, by investigating the relationship between his association with women and female figures, the author has been able to identify the meaning of coincidence and women when it comes to creation, as the way he had expressed. His creative tendency was determined according to the nature of women he was in association with each time and the female figures did not stray from the shadows of women he was in association with. This feature on the creation of literatures by Shen suggests that his literary world and female figures are to be interpreted and studied in various ways in the fields such as eco-feminism and gender psychology.

沈從文的≪月下小景≫有八篇佛敎故事小說, 這是以≪法苑珠林≫裏的 故事開寫而成的再創作作品。除了少數例外, 這些再創作作品與原來的故事 之間有明顯的一對一相應關係。因此若對於這兩批作品進行比較考察, 可以 深一層了解沈從文作品的特徵及其意義。進行考察之前, 我們必須注意這兩 批作品有一種形式上的共通點, 卽框架結構。框架小說以開端部分, 主體部 分--中心故事, 結尾部分構成。已往的≪月下小景≫與≪法苑珠林≫比較硏 究, 主要考察主體部分內容上的影響關係, 而此文集中考察, 開端部分與結 尾部分的異同關係及其意義。我們可以發現, 開端部分與結尾部分裏有沈從 文的濃厚創意。以框架結構來看, 因爲有開端部分與結尾部分的邊框, ≪法 苑珠林≫的中心故事不再發生事情。與此相反≪月下小景≫的中心故事, 有 了開端部分與結尾部分的作用, 却發生現實故事。再說≪法苑珠林≫的故事與現實之間有分明的界限, 不能互相越界, 而≪月下小景≫的故事與現實經 常互相干涉。 擧其大約特徵如下。 首先擧開端部分的特徵。 一、與≪法苑珠林≫不同, ≪月下小景≫的故事有連結文章。沈從文要 用這連結文章來作成一個完整統一的作品。 二、≪月下小景≫的開端部分有一段文章, 槪觀中心故事的主題意識, 不難發現抽象概念。想來沈從文要通過這些文章, 積極表現自己的現實意 識。 三、開端部分具體描寫說話者的容貌與現場的環境, 有了這一部分, 框 架內部的中心故事與現實之間的境界部分潰决, 結果兩者之間互相流通。 下面擧結尾部分的特徵。 一、通過結尾部分, 故事沒完淸, 暗示再開始新的故事。 內部故事向現 實這一方渗透出來, 發動新故事的開始。 二、因結尾部分的作用, 框架結構裏外不定, 避脫單純結構。 三、結尾部分表示, 旅行的終極目的不能完成, 只是呈顯出人生實地。 四、結尾部分有濃厚的諷刺成分。沈從文的諷刺雙向或多層批判的態 度。旣諷刺自己也諷刺對象。

沈從文은 小說創作에 대해서 현실과 꿈이라는 두 성분을 서로 결합시켜야 한다고 피력하였는바, 그가 말하는 現實이라는 것은 自然과 社會에 客觀的으로 存在하는 人事物象을 뜻하고, 반면 꿈이라는 것은 작가의 人事物象에 대한 主觀情感, 그리고 그의 인생에 대한 審美的인 趣向을 의미한다고 볼 수 있다. 沈從文은 창작활동을 시작하기 전의 여러 가지 생활경험의 存留를 心으로, 未來의 이상적 생활의 憧憬을 夢으로 보고, 이러한 心과 夢이 결합되어 쓰여진 小說作品은 바로 작가 자신이 생활하고 사유하고 있는 現實과의 접촉을 통해 얻어진 것이라 간주했다. 프로이드가 文學作品은 일종의 幻想的인 藝術形態로써 이것은 過去ㆍ現在ㆍ未來라는 세 가지 時代를 포함한다고 하였는데, 沈從文 역시 작가의 創作欲求 生成의 근거인 現在를 토대로 過去의 存留하는 經驗과 現在의 未來에 대한 理想的 渴望을 겸비해서 小說創作을 하였다. 그의 小說 ≪변성≫은 이러한 沈從文의 未來指向적인 純粹 人間의 內心을 잘 반영한 대표적인 作品이라 하겠다.